(Progressive rock, Krautrock) MANUEL GÖTTSCHING & ASHRA - The Private Tapes (1970-1979) - FLAC tracks lossless

Manuel GÖTTSCHING is one of the world's foremost innovative guitarists, and is a founding pioneer of the Kosmische Musik & Krautrock genres, more commonly known as German progressive and electronic rock. He has released more than 30 albums as ASH RA TEMPEL, ASHRA and Manuel GÖTTSCHING, and has contributed to countless other recordings and releases. He continues to be one of the most original artists recording and performing today.
His seminal minimalist albums "Inventions For Electric Guitar" (1974) and "E2-E4" (1984) are two of his most important recordings. "Inventions For Electric Guitar" was a revolutionary album for the day and is still forward looking almost 30 years later. "The Best of the Privates Tapes" (1998) is basically a summary of the six-volume "The Private Tapes" series; a comprehensive guide to the sonic experiments of GÖTTSCHING and occasionally his cohorts' as well, and thus is an excellent starting point for those unfamiliar with this man's forays into rock and electronic music. The period covered on this set covers the years 1970-1989. Float away on an astral cloud, or rock out. Its all here...!

The Private Tapes of Ash Ra Temple/Ashra/Göttsching close on six volumes and an intensively endeavored music material, assigning the krautrock or the electronic, the improvisation or the long analogy thought, the cluster or the unbreakable spirit.And every piece or musical chronic gets the “last but not least”, “essential, but not solely”, “brave, but never conspicuous” tensions, as to be artistic, profound, didactic, evanescent and gleefully present in the chronicles. Volume 6 spirits late 70s Ashra, in a short term, and an opposite Ash Ra Tempel (with tangency though on Göttsching), upon the first golden years and a most long composition ever so recorded. Intriguing and brandly recommended. As for the details:
The first part, going succinctly and merrily dedicated to the Ashra ensemble, is something I would call tired, but nice music, of a creative sort. Outside the very condensed pictogram, there is a sort of filling in the blind spot and the full minutes of effects, given that this easy roundabout tangles the contrasting epics and large compositions, generally but also in this album. The Ashra touch, most sincerely, received the lowest attention around the Private Tapes and the most sporadic cream top as well, so that to feel how these pieces, specifically, are a real flavor, matching the entire orientation and good taste; even more patiently, the touch is simply evoking the fascination of more concrete and simple music, in more distilled spoils. Here we do have, just as well, a "cleared breath" low sugar set of Ashra improvisations, mix of melodies and soft tunes, passionate rhythms and fragrances, plus different kinds of an e-motion that means little. Hausaufgabe sounds deep and shady, with full interventions of unreal sequencing, or with the loop taste in coloring the nerves of a closed circuit. Two more pieces get into a live streak ambiance. Ice Train was released properly at its time, so the only thing to say as "new" and "mentionable" about it is perhaps a more upbraid pulse, plus Phantasus makes the groove of it a pleasant constant libell. To say Ashra doesn’t, didn’t or can’t have pleased in its own adapted way and music, is equally cruel and tempting.
Respecting the epic, classic-time, lengthy improvisation/jam/suspense Ash Ra Tempel grand manners, Ein würdiger Abschluß is a piece to give you goosebumps or to need a great endeavor; but it fashionably adapts a serene improvisation with a long mix of tinged thoughts, more specifically being an easy bread to feed on a spirit, and finally being the only possible good choice of the special (or “specialized”) volume; the 54 full-echapee minutes contain clever acid music, deep sense and a bit moronic texture. Dating 1971, it comes to the decision that it is Ash Ra Tempel in big haze; the trio, in its flawless nature, events this music, but not integrally, cause I feel it like a momentary genius composition, advanced play and sensible predilection from Göttsching specifically. 54 minutes are anyway a courageous long play, out of which, truthfully, come about two great moments and two more impeccably tainted styles: the ones of dark dynamics and the raw finale on guitar chops, making Göttsching sound like a Hendrix-virile krauter, plus the ones of hard notches and fluctuating deep incisions in the brand of already mastered contentions. So feel the entire passion of this big dipper lies in Göttsching, by composition, by deep beatless sound and nature harass, and by the guitaresque drills. The rest of the kraut can state the Ash Ra Tempel trio.
A sixth important sense in the private and the good to be recalled music of these personal volumes; perhaps, with all its surprise and pressures, this volume,separately, has the least emotion and adaptability in it, yet this would mean two stars for the general magic, boosted to three stars by a marathon Ash Ra improvisation (being basically the centric image of everything here and a great choice around all the expressions in the six volumes); to add general applauses for a compilation worthy of recognition and a music worthy for such a classic rant as Ash Ra Tempel (by its art collective, dark foam and intensively abraded wave liberty), Göttsching (by its constant mastering and promoting anxiety) and Ashra (by their slide slip) have challenged, managed to debacle, inspirited or collapsed over the 70s. A treating event, to its end.

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